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. Epicical and Mythical Literature
Mohammad Hasan Jalalian Chaleshtari
Abstract
In three stories of Ferdowsi’s Shahnameh, a land in the northeastern regions of Iran corresponding to Transoxiana is mentioned, whose name has been recorded in various forms in the existing manuscripts, and the editors of Shahnameh and researchers of its geography disagree with each other in choosing ...
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In three stories of Ferdowsi’s Shahnameh, a land in the northeastern regions of Iran corresponding to Transoxiana is mentioned, whose name has been recorded in various forms in the existing manuscripts, and the editors of Shahnameh and researchers of its geography disagree with each other in choosing from these records. The destruction of the original form of the name of this land and the confusion and imprecise recording in Pahlavi texts and the existence of similar forms in the eastern and northeastern lands of Iran in historical and geographical sources after Islam, as well as incorrect and contradictory perceptions of the geographical extent of this region are the main reasons for the different selections by Shahnameh editors. Some of the selected or proposed forms for the name of this land are Kavaršān, Kušān, Karūšān, Kohestān, Kavarstān and Kūy-sārān. In this article, by paying attention to the details of the stories in which the name of this land is used, as well as using ancient Iranian and Middle Persian and Islamic texts, a reading different from those which have been proposed before will be presented in the form Gavestān. This form has the support of some manuscripts and also can be traced in Pahlavi script.
Laila marandi; Ali dehgan; Khalil Hadidi
Volume 67, Issue 230 , January 0, , Pages 91-111
Abstract
Rashid-al-din Meibodi, writer of the most known interpretation of mystical taste in AlnobahAlsalesah(third turn) has mystical and artistic look at verses of Quran and stories of the prophets and has interpreted them with help of mystical secrets and interpretations. Story of Hazrat Joseph is one of the ...
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Rashid-al-din Meibodi, writer of the most known interpretation of mystical taste in AlnobahAlsalesah(third turn) has mystical and artistic look at verses of Quran and stories of the prophets and has interpreted them with help of mystical secrets and interpretations. Story of Hazrat Joseph is one of the suitable areas for formation of mystical interpretations and inferences due to variety of subjects and scenes and location of characters in different positions. Events mentioned in this story imply meanings and concepts beyond form of event and this feature is result of the known tasteful mystic like Meibodi and caused him to have interpretations based on his taste, which are not consistent with contents of this story and what was mentioned in Quran. For this reason, his interpretations have some errors and ambiguities despite beauties and attractions and one cannot find reliable Quranic sense or narration directly for some of them. This paper has attempted to present a correct interpretation of the studied verses with help of Quranic text and also other reliable interpretations by criticizing and studying views and theories of Meibodi in the third turn of Kashfolasrar while explaining the errors.
Persian Rhetoric and Grammar
mohammad khakpoor
Abstract
Belief in the originality of "firm" or "meaning" is one of the important subjects in the world of rhetoric and our literary tradition. Should we know the importance of the formation of works of art from the Form or Form or from the Meaning (content)? which has made a long struggle between the supporters ...
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Belief in the originality of "firm" or "meaning" is one of the important subjects in the world of rhetoric and our literary tradition. Should we know the importance of the formation of works of art from the Form or Form or from the Meaning (content)? which has made a long struggle between the supporters of these two approaches.This endless conflict during the time of Safaviyeh namely the peak and splendor of the literary criticism and stylistics with the attention and the deep knowledge of literary critics is being surprisingly continued. Besides in the Hindi style poem which has also been the most important field of rhetorical subjects and criticism and stylistics, in addition to many other important and new literary subjects, the attention to the originality of form or meaning is glaringly displayed. If in the poems of Saeb, the most rhetorical and fluent poet of Hindi Style, the subjects like:" pure form", "unfamiliar form", " polishing form", " new meaning", " delicate meaning", "strange meaning", "florid meaning", using form and meaning jointly, are seen frequently.
Literary theories
fazlollah khodadadi
Abstract
Contemplation on the narratives of the military secret reservoir shows that the whole structure of this work is a discourse consisting of twenty articles on various topics. .Paid. From the point of view of sign-semantics, what seems important in this discourse is the method of arrangement and semantic ...
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Contemplation on the narratives of the military secret reservoir shows that the whole structure of this work is a discourse consisting of twenty articles on various topics. .Paid. From the point of view of sign-semantics, what seems important in this discourse is the method of arrangement and semantic development of the poet's words, because in each article he starts from generalities and gradually - especially in the final verses of each article - moves his speech towards the artist. Which then brings an anecdote related to the subject and meaning of the discourse of the article, and in doing so, in addition to giving new meaning to the discourse, provides a platform for the expansion and proof of the meaning of the discourse. The purpose of this study is to analyze the process of expansion and proof of meaning in the discourse of the repository of secrets, so the author has used the theory of "semantic methodology" by Vincent Zhou (1997) to prove the claims and also to scientifize the results. The results of the present study, which are provided in a descriptive-analytical manner, show that in the article, the system in the repository of secrets first brings general information in a discourse with a specific space, then by limiting the scope of speech, connects its speech to an anecdote. A fictional character confirms and expands the meaning and content of the discourse in that article.
Naser Alizadeh; Mehdi Ramazani
Volume 66, Issue 227 , January 0, , Pages 95-112
Mortaza Heidari
Volume 69, Issue 233 , January 0, , Pages 95-122
Abstract
The stylistics deals with studying frequencies and repetitions; therefore, employing the statistical analyses in stylistic evaluations is very useful, Whereas the descriptive statistics cannot always explain the stylistic fluctuations, using of inferential statistics theories ...
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The stylistics deals with studying frequencies and repetitions; therefore, employing the statistical analyses in stylistic evaluations is very useful, Whereas the descriptive statistics cannot always explain the stylistic fluctuations, using of inferential statistics theories in evaluating stylistic phenomena will bear a very scientific accuracy. “Stylometry” is the term that has been coined for stylistic researches connected with computer. In present article, the author tries to evaluate the relationship between compression of angle of simile construction in Iraqi Style and frequency of literal similes from the respect of construction in the poets’ Divan of this Style in passing the time. Because of this, the author deals with inferential analysis of statistics by using the Pearson Correlation Coefficient in SPSS computerized software. These statistics come from the SPSS software out and express the correlation coefficient and significant level of relationship between variables (the compression of angle of simile and frequency of literal similes). Comprising these numbers with identified indicators for correlation coefficient and significant level, confirms the positive and direct relationship between variables. In stylistic words, i.e. to be much compressed the angle of simile in style of Iraqi style is equal to increase the frequency of literal similes that have much closed construction and this stylistic event has followed from the dominant norms of periodic style.
Contemporary Poetry of Iran
Behnoosh Rahimi harsini; Ali Heydari
Abstract
AbstractHafez was bold enough to repeat the meaning (not the words) in the lines ofhis sonnets. His use of synonymous words and phrases is evidence of this fact.Hafez is unique in paying attention to and employing the subtle differencesbetween words which have similar meanings. He not only pays attention ...
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AbstractHafez was bold enough to repeat the meaning (not the words) in the lines ofhis sonnets. His use of synonymous words and phrases is evidence of this fact.Hafez is unique in paying attention to and employing the subtle differencesbetween words which have similar meanings. He not only pays attention tothe synonymous words but also takes account of the opposite meanings ofsuch keywords as synonym; he substitutes apparently synonymous words anduses each word in the appropriate context of words and phrases in the linescomposed. He does not use the similar concepts in the form of a stretch ofwords coming in a sequence. Instead, he substitutes the second word in aseparate sentence with the first word. This is his unique way of creating newmeanings. The arrangement of synonymous words, attending to the subtledifferences between words and their use in appropriate contexts have givenHafez a special ability to create new meanings. This technique has also led tonew paradoxes and sweet scoffing. By so doing, he ascends to the figurativemeaning of the language. This happens in 5% of Hafez’ lines seeking newstructures and meanings.Keywords: Synonym; Substitution; Meaning-creation; Sonnet; Haez.20 Persian Language and Literature, Vol. 71, Issue 238, Fall & Winter 2018- 2019In total, in the lyrics of Hafez, that is 4193 verses, around 214 verseswith synonyms words or phrases have been used. This numberconstitutes about 5% of his verses. Hafez has considered ways to createsynonymous concepts; for example, he makes sentences, phrases, orsynonymic combinations. Hafez knows that each word has differentsemantic components. Since no two terms are, in all their meanings,mutually conflicting or synonymous, placing synonymous or opposingcomponents creates conflict or synonymy between the words. Bycontrasting synonymous or opposite components, it creates a conflict orsynonymy among words. Hafez has a particular technique in the use ofsynonymous vocabulary. He does not bring the synonymous wordstogether, but he replaces one word with another one in two independentsentences. This makes it possible, in addition, to repeat part of themeaning of a synonym, and the second term also maintains its semanticindependence. This leads to the repetition of a part of the meaning ofthe first word, and the second term also maintains its semanticautonomy. It also shows other dimensions of the meaning of the word.This increases the meaning of the verse. This method gives power toHafiz to create new and multi-lateral meanings. In addition, he alsorecognizes the integrity of a word with semantic and grammaticalcapabilities. In addition, Hafez is familiar with methods for creating asemantic relationship among the words. Hafez, through his close look,sees the hidden virtual relationships among vocabularies, and bysubstituting these words, he brings them together in that part of meaningand relationship. Another point is Hafez's attention to meaningdifference in vocabularies in different contexts. This awareness gavehim the power to even identify conflicting vocabulary (water and fire)in allusion phrases (water of wreckage and fire of the tavern).Sometimes Hafez, in order to create a synonymy between concepts,uses the semantic components of a term in a descriptive phrase orsentence, and he replaces that descriptive phrase or sentence with thatterm. Of course, these descriptive phrases do not always refer to the truemeaning of the word. Sometimes these descriptive phrases signify theallusive meaning of the word. This method is equivalent to descriptivesemantics which linguists interpret as semantic descriptive or analytic.The last point is that Hafez, for the sole purpose of interpreting theSubstituting Synonymous Vocabulary in Hafez's Sonnets 21vocabulary, does not use synonymous concepts; but, using thesynonymous concepts substitution method, he uses the word andmeaning to serve rhetorical performances in his verses. We refer to anumber of artistic functions of this method:1. Creating paradox and wonder in the meaning of the verse.2. In synonymizing vocabulary, he considers the differentsemantic functions of words. And by replacing the vocabulary,in addition to the common meaning, he also uses differentmeanings. This adds up to the scope of the meaning of verse3. Sometimes he substitute two-dimensional vocabulary and inaddition to syntax, also creates ambiguity. In Hafez's verses,about 28 percent of synonyms are also ambiguous.4. The vocabulary also replaces each other with different semanticdomains.5. Sometimes, he replaces descriptive combinations and phraseswith vocabulary and phrases for synonyms.6. Hafez, in addition to creating synonyms, also considers thephonetic proportions, and the increase of verse music; hence, inthe choice of vocabulary, he attends to verbal proportions withother vocabulary.7. The most important point to be considered is proportions. Thismeans that Hafez has a comprehensive understanding of words;and knows semantic functions of the word and knows minordifferences in synonyms; he knows what a low or high meaninga word has or for which context it is more suitable.The abundance of synonymous meanings in Hafez's sonnets Title The number of lines Percentage Synonym 167 78% ambiguity andsynonyms 47 22% Total 214 100%
. Epicical and Mythical Literature
Farzad Ghaemi
Abstract
The old Burzō-nāma is one of the most important epic texts of Persian that after Ferdowsi's Shāh-nāma, has the most plurality and diversity of manuscripts among Persian epic texts; but since it has only an independent manuscript, most of which are the manuscripts of Shāh-nāma, they are less cognitively ...
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The old Burzō-nāma is one of the most important epic texts of Persian that after Ferdowsi's Shāh-nāma, has the most plurality and diversity of manuscripts among Persian epic texts; but since it has only an independent manuscript, most of which are the manuscripts of Shāh-nāma, they are less cognitively reviewed accurate. The identity of this work as an accompanying story in Ferdowsi's Shāh-nāma is not a specific feature of this text. This essay, by examining the quality of the transmutation of the old Burzō-nāma, and analyzing and generalizing the findings of the manuscript, designed the triplet model for the classification of the sources of this genre: the Persian National Epic. According to this model, Persian epics are found in the seventh and tenth centuries in three Text Types of manuscripts: Independent manuscript, a manuscript in the epic collection and a manuscript in the Shāh-nāma manuscript.The literary tradition that created these texts is the tradition of "compiling the Additional stories." According to this tradition, both the creators of the works and the scribes of manuscripts, instead of creating an independent work, had a motive for adding their story to the genre's standard text (Shāh-nāma). For this reason, most of the manuscripts of the ancient period (47 manuscripts out of 54 manuscripts) were manuscripts annexed to Shāh-nāma, and the poet (Kōsaj) also probably wrote the work for adding the Shāh-nāma, or at least in relation to it.
Sufism and Mysticism
mohammad mohammadi; Mahmood Fotoohi Rudmajani
Abstract
The 10th century A.H. is the beginning of the formation of the literary currents of Qur'an poetic interpretation.This current has continued until now and was more popular in the Qajar era. Some of these works claim directly or indirectly miracles like the Quran. The basis of this claim is Persian prosody ...
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The 10th century A.H. is the beginning of the formation of the literary currents of Qur'an poetic interpretation.This current has continued until now and was more popular in the Qajar era. Some of these works claim directly or indirectly miracles like the Quran. The basis of this claim is Persian prosody order. This poetic interpretation is subordinate to the Qur'an. The aforementioned claim is examined by studying the prominent poetic interpretations of the Qur'an, especially the Tafsir Safi (1308 A.H) ; which includes the entire Qur’an; the study seeks answers to these questions: what was the motive behind the claim of the miracle of poetry in the field of interpretation or what factors provided the basis for such a claim? Has this practice led to the expansion of the Sufi interpretation tradition or is it just a claim? How is it possible to receive revelation or inspiration while interpreting? Since the principle of interpretation is within the framework of a sacred text, how can that text be a source of religious experience and a field for the mystic to receive revelatory inspirations?
MohammadAli mahmoodi; farzad Shafieefar; Yaghoub Fouladi
Volume 65, Issue 226 , January 0, , Pages 105-129
Ahmad Goli; Farhad Mohammadi
Volume 66, Issue 228 , January 0, , Pages 119-137
mohsen sharifi sahi
Abstract
he reason for recording the same poem or poems in the divan of two poets is usually either the mistake of the scribes or the transcription of one poet from the other. There are examples of these two in the court of Khatun.There are 21 quatrains shared with Saadi in the World Court that have nothing to ...
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he reason for recording the same poem or poems in the divan of two poets is usually either the mistake of the scribes or the transcription of one poet from the other. There are examples of these two in the court of Khatun.There are 21 quatrains shared with Saadi in the World Court that have nothing to do with the issue of consequences or theft, and the intervention of the owner of the manuscript of his 763 Paris and the negligence of the editors of the World Print Court have been the cause of this confusion.On the other hand, Jahanmalek Khatoon is an imitating poet, and just as Anwari, Saadi, Khajoo, Salman Savoji, Hafez, Jalal Azd, and others used verses and verses in their poetry - they generally mentioned his name, which is the main condition of guarantee. - He mentioned that he was also very interested in Khosrow Dehlavi's poems. As can be seen from his followings of Khosrow, imitation of this poet is evident in the poems of the world. But in addition to following, imitating and accepting Khosrow's poetry, which can be seen in many of the world's poems, 15 lyric poems by Khosrow can also be seen in the collection of Jahan-ol-Molk poems, which are suspected of plagiarism and transcription of these poems.
alireza shohani; sara hosseini
Volume 71, Issue 237 , September 2018, , Pages 75-101
Abstract
The expansion of the Internet and its facilities in Iran in the 1370s caused significant changes in the field of Persian language, culture and literature which the emergence of new ways such as: Web writings and super stories in the field of prose and also The emergence of digital poetry and the development ...
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The expansion of the Internet and its facilities in Iran in the 1370s caused significant changes in the field of Persian language, culture and literature which the emergence of new ways such as: Web writings and super stories in the field of prose and also The emergence of digital poetry and the development of visual and visual poetry in the field of poetry is one of the most important of these changes. Also, the widespread use of the Internet has given this opportunity to public audiences. To present and critique literary works published in cyberspace, which causes a lot and, of course, superficiality Reviews in this area have been made. In general, the growth of cyberspace in our society, on the one hand, is a new form putting literary ideas to the attention of writers and poets and allowing faster and wider interaction between the creators of Literary works and their audience. On the other hand, the haste of writing, the leveling up of some works and Also, their critique, written criticisms, and neglect of editing the writings so on ... are among the fines of The work which has been published in this space. This research seeks to examine the effects of The virtual space on Persian language and literature in four categories of rules of writing discipline, prose, poetry and Review of literary criticism.
Masoud Rouhani; Mohammad Alipour
Volume 68, Issue 232 , January 0, , Pages 83-108
Abstract
کتب تاریخ و ادبیات هر دوره، آینهای است که شرایط اجتماعی آن دوره را منعکس میکند و میتوان از طریق بررسی و مطالعۀ دقیق این آثار به شرایط و مقتضیات آن دوره آگاهی ...
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کتب تاریخ و ادبیات هر دوره، آینهای است که شرایط اجتماعی آن دوره را منعکس میکند و میتوان از طریق بررسی و مطالعۀ دقیق این آثار به شرایط و مقتضیات آن دوره آگاهی پیدا کرد. عادات و رسوم هر قوم و طایفهای، نمودار میزان تمدن و فرهنگ آن قوم است و از میان آنها میتوان سایهروشنی از اوضاع یک ملت را شناخت و به آرا و عقاید آنها پیبرد. در این مقاله سعی شده است با بررسی اتفاقات و حوادثی که رد پای زنان در آنها دیده میشود، به شناختی همهجانبه از جایگاه و سیمای زنان در تاریخ جهانگشای جوینی دست یافت و نقش زنان در مسایل سیاسی و فرهنگی جامعه آن روزگار و چگونگی رسیدن زنان به پایگاه اجتماعی و حقوق مدنی خود را روشن ساخت. هرچند، این نقش ابتدا به صورت غیرمستقیم و پنهان بود و بعدها آشکارترگردید.
Ali Safai; Bahereh Pasokhi
Volume 69, Issue 234 , January 0, , Pages 95-117
Abstract
Akbar Exir, an Azari born in Astara, Iran, a satirist is one of the literary scholars and poets who has introduced a non-rhythmic neither rhyming verse into the literary market which is categorized as a part of modern literature called Faranou (Ultra-modern) poetry, considering two essential global elements ...
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Akbar Exir, an Azari born in Astara, Iran, a satirist is one of the literary scholars and poets who has introduced a non-rhythmic neither rhyming verse into the literary market which is categorized as a part of modern literature called Faranou (Ultra-modern) poetry, considering two essential global elements pace and technology to make ancient Persian literature appeal to young contemporary readers. To achieve so, he has utilized satire, the most influential literary term in his works. His poetry consists of satire which has always been a critical but reformist stimulus. For the sake of satire in his Ultra-modern poetry which revolves around brevity, Exir has cunningly selected a variety of figures of speech such as multiple meaning, taxis, pun, deviation and paradox in an invisible unforced way to create a multi-layer poetry which can appeal to various public or scholar addresses in the simplest way. The introduction of Faranou poetry and its features and the analysis of its wit and comic play from literary and local points of view has been the most simulative reason of writing this descriptive- analytical article which also leads to a better recognition of the poet’s literary work.
Maryam Ebadi Asayesh; Mahmood Reza Gheibi
Volume 70, Issue 235 , January 0, , Pages 97-122
Abstract
Esfar-e-Kateban (The Script of the Scribes) won Mehregan Prize in 2000 for its author, Abu-Torab Khosravi. This work which consists of various narrative layers, in its first layer attempts to tell the story of Said and Eklima’s acquaintance. In the other narrative layers, it rereads the old texts ...
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Esfar-e-Kateban (The Script of the Scribes) won Mehregan Prize in 2000 for its author, Abu-Torab Khosravi. This work which consists of various narrative layers, in its first layer attempts to tell the story of Said and Eklima’s acquaintance. In the other narrative layers, it rereads the old texts such as Masadig-al-Asar of Sheykh Yaha Kondori or Mozaffari History and the life of Saint Shedrek. This characteristic which is seen in postmodern fiction, is called mise-en-abyme. Esfar-e-Kateban which includes the description of the greatness of Khawjas and saints has the features of a magical realist fiction. Magical Realism is an oxymoron that consists of magical+real elements. Many writers, have used this genre for studying the clashes between colonial, postcolonial, and imperialist powers with their society. And sometimes they have revisioned the harsh realities of history using Magical realism. The present study after examining mise-en-abyme in Esfar-e-Kateban and mentioning the characteristics of magical realist fictions such as the irreducible element, the phenomenal world, unsettling doubts, merging realms, disruptions of time, space, and identity according to Faris’ classification, finds the mentioned novel a magical realist one and then it expresses the revisionary nostalgia of the writer in order to rewrite the historical narratives of the lives of Shah Mansour Mozaffari and Saint Shedrek.
Lyrical and Didactic Literature
Ghodrat Ghasemipour
Abstract
با توّجه به اینکه سیمای شیرین در منابعِ تاریخی با سیمای داستانیِ او تفاوت دارد، در این مقاله ابتدا به چگونگیِ جایگاه و موطن او در منابعِ کهنِ فارسی، سریانی، رومی و ارمنی ...
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با توّجه به اینکه سیمای شیرین در منابعِ تاریخی با سیمای داستانیِ او تفاوت دارد، در این مقاله ابتدا به چگونگیِ جایگاه و موطن او در منابعِ کهنِ فارسی، سریانی، رومی و ارمنی پرداختهایم؛ در منابعی همچون تاریخ بلعمی و شاهنامه، شیرینْ کنیز و محبوبۀ خسرو است و ذکری هم از موطن و اصالت او نیامده، امّا در منابعی دستهاوّل و همروزگار با خسرو و شیرینِ تاریخی، همچون رویدادنامۀ سریانی، تاریخ سبئوس، تاریخ تئوفیلاکت سیموکاتا، شیرینْ اهلِ خوزستان و نواحیِ جنوبِ غربیِ ایرانشهرِ عهدِ ساسانی یا میانرودان دانسته شده است. امّا اینکه چرا شیرین که در روایات تاریخی، اهلِ جنوبِ غرب ایران یا خوزستان بوده و در روایاتِ ناحیۀ اران، مبدّل به شاهدختی ارمنستانی شده، برخاسته از چند پیشزمینه و دلیلِ تاریخی دانستهایم بدین قرار: 1) روایتپردازانِ این قصه خود اهلِ این ناحیه بودهاند و او را از آنِ خود کردهاند؛ 2) بینِ ایران و ارمنستان در ادوارِ تاریخیِ باستانی، با وجود کشاکشهای گوناگون و دخالتهای رومِ شرقی، روابط و مناسباتِ فرهنگیِ فراوانی وجود داشته؛ 3)
. Epicical and Mythical Literature
Milad Jafarpoor
Abstract
Jamšid nāmeh is an unprecedented prose epic in Persian literature that its original report was limited to the life of jamšid pishdadi and from this point of view, it can be considered as an independent narration such as: Garšāsp-nāma and Kush nameh which is related to the ups ...
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Jamšid nāmeh is an unprecedented prose epic in Persian literature that its original report was limited to the life of jamšid pishdadi and from this point of view, it can be considered as an independent narration such as: Garšāsp-nāma and Kush nameh which is related to the ups and downs of life of one of the mythological characters of Iran. The narrator of Jamšid nāmeh has tried to focus on the dark and obscure moments of Jamšid's life which all literary and historical sources have been suspended in relation to its reporting. What is mentioned about Jamšid in šāhnāmeh and other sources is more limited to the era of the monarchy, the decline and murder of Jam by the order of Zahhāk, but unlike other sources, Jamšid nāmeh specifically refers only to the events before Jamšid's encounter with Zahhāk and describes The narrator of Jamšid's wonderful life covers the period from childhood to his reign on earth. For the first time, the present study has been inductive in order to introduce the epic of Jamšid nāmeh, to examine the characteristics of Persian, Turkish, Urdu manuscripts and the other same name & unknown manuscripts.
Iman Mehri Baidiglu; Ebrahim Ranjbar; Khodabakhsh Asadollahi; Asgar Salahi
Volume 70, Issue 236 , December 2017, , Pages 99-116
Abstract
This is different from art to history that the Artist, with its own selection and interpretation and reporting, provides the apparent irregularities of facts in a reasonable, limited, measured and disciplined design. Sharab-e-Kham (The Raw Wine) is one of the famous realistic novels written by Ismail ...
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This is different from art to history that the Artist, with its own selection and interpretation and reporting, provides the apparent irregularities of facts in a reasonable, limited, measured and disciplined design. Sharab-e-Kham (The Raw Wine) is one of the famous realistic novels written by Ismail Fasih. Its subject is some excerpts from historical events and problems of the forties and fifties (H.SH). The novel is consistent with components of social realism. In this paper we analyze the novel of the same view. Noticing to the author's own personal life, typical and representative situation of some families in the community, the function of newspapers and the role of some historical figures, and social relationships and ethics are of the novel’s contents. The outcome of this study is that the author has strengthened the realistic aspect of the novel using: the representation of facts, resorting to citing the news media, describing the details of events, creating Types, using colloquial language, remembering the name of some historical figures, reporting the news of bitter events, and presentation of the author’s character in the role of the Narrator. The method of this research is to match the details and elements in the novel and deducing a precise result to discover its realistic aspects and how It Matches With Social Reality.
History of literature of Iran
Abolfazl Horri
Abstract
Real Saʾdi Versus Implied Sa’di in the Prologue of Golestân AbstractIn narratology, the discussion of the six components of the narrative communicative model has given rise to heated debate. The author discusses the six components of the narrative communicative model and how they relate ...
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Real Saʾdi Versus Implied Sa’di in the Prologue of Golestân AbstractIn narratology, the discussion of the six components of the narrative communicative model has given rise to heated debate. The author discusses the six components of the narrative communicative model and how they relate to the external and internal voices of the narrator. The real Saʾdi Shirazi is the composer of the works, but there is also an implied author who mediates between the real Sa’di and the narrator. The narrator's voice conveys the Prologue of Golestân to the reader/narrator, while Saʾdi Shirazi's voice can indicate his ideology as a real author. However, the works are not a direct reflection of the real Sa’di's positions, but rather he expresses his point of view through textual tools. The article examines the real and implied position of Saʾdi in the Prologue of Golestân, using the authorial Saʾdi as a solution to discuss contradictions and paradoxes attributed to the real Sa’di. From this position, Golestân and Bustân are the works by this authorial Saʾdi rather than the real Saʾdi mentioned in the tazkiras.
Persian Rhetoric and Grammar
seyyed Alisina Rakhshandemand; Alireza fouladi
Abstract
A look at the evolution of the title of Rad al- ajoz ala (ela) al-sadr in rhetorical booksAmong the figures of speech and literary techniques that have a long history and are presented with different categories, titles and names in Arabic and Persian rhetorical books is "Rad al-ajoz ala (ela) -Sadr" ...
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A look at the evolution of the title of Rad al- ajoz ala (ela) al-sadr in rhetorical booksAmong the figures of speech and literary techniques that have a long history and are presented with different categories, titles and names in Arabic and Persian rhetorical books is "Rad al-ajoz ala (ela) -Sadr" or "Rad Al-Sadr elā (alā) Al-ajoz". The use of "alā" instead of "alā" and the replacement of "Al-Sadr" instead of "Al-ajoz" has caused what according to a group of rhetorical books is called "rad al-ajoz ", according to another group, it is the opposite , scilicet it is rad al-Sadr ela al-ajoz . Persian rhetoricians consider the source of this disagreement to Shams Qais Razi, the author of Al-Mu'jam; For this reason, a group followed and obeyed and another group criticized his opinion; Therefore, this article - which is written with a descriptive-analytical method, by reviewing the historical course and development of this literary figure of speech and its importance in the most important Arabic-Persian rhetorical books, especially to the disagreement about the use of "alā" and "elā" " and it will be clear that the primary origin and source of these disagreements - contrary to what is stated in the Persian rhetorical books - originates from Arabic rhetoric and by Sakaki.Keywords: Rad al-Sadr alā (elā) Al-ajoz, Red al-ajoz ala (ela) Al-Sadr, rhetoric, evolution.
Mohammad Mahdipour; Mohammad Khakpour; Khadijeh Pourzeyni
Volume 68, Issue 231 , January 0, , Pages 109-136
Abstract
Qasida as a genre of Persian poetry flourished up to the late 6th century AH, and the 7th century AH marked the beginning of a period of its temporal decline. Inspired by certain social developments, however, this poetic form revived in the Constitutional Period with its authentic, traditional norms. ...
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Qasida as a genre of Persian poetry flourished up to the late 6th century AH, and the 7th century AH marked the beginning of a period of its temporal decline. Inspired by certain social developments, however, this poetic form revived in the Constitutional Period with its authentic, traditional norms. The present work is a structural and thematic analysis of the qasidas by Shahriar. Though Shahriar echoes many of the traditions of the classic Persian poetry, he does not arguably seek to follow the earlier norms and conventions as far as qasida is concerned. Due to his peculiar character, his qasidas employ a soft, lyric language. Though some of his qasidas do hold a candle to the relevant classic works, one should note however that qasida is not the major concern for him as he deems it as a rough poetic form. As with his other poems, the most important feature characterizing Shahriar’s qasidas is factography and expression of true, personal emotional experience. In qasidas with lyrical and emotional themes, this very feature has coupled with innovative fantasy and romantic descriptions to give birth to a new class of qasida unprecedented in the history of Persian literature. Shahriar’s qasidas fall in a wide array of thematic groups, but they can be split into the following categories in terms of the most prevailing purports: 1) panegyric, including Ikhwäniyät (brotherly poems), elegies, and social; 2) religious and monistic; 3) lyric; and 4) those dealing with the Iranian Islamic Revolutio
Rooh Angiz Karachi
Volume 67, Issue 229 , January 0, , Pages 111-135
Abstract
The way poetesses have composed poems in their traditional, restrictive societies, where women were even deprived of the right to literacy, is one of the marvels of the history of women’s poetry. While some poetesses have achieved fame not worthy
of them throughout the history, some others have ...
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The way poetesses have composed poems in their traditional, restrictive societies, where women were even deprived of the right to literacy, is one of the marvels of the history of women’s poetry. While some poetesses have achieved fame not worthy
of them throughout the history, some others have remained unknown.
“Heyran”, one of the most undiscovered poetesses in the history of Persian literature, lived in Azerbaijan during the Qajar era (the 18th century). Having composed a poetry book containing 430 verses in Azeri Turkish and 3150 verses in Persian, Heyran is considered as the first and only bilingual poetess.
This linguistic feature is unprecedented in the history of women’s poetry. Heyran is a follower of the revival poetic style and sonneteer who dedicated most of her poems to love, separation, and the sorrow of love. The present research will seek to elucidate the position and characteristics of Heyran, as an Iranian Persian poet, and explain the sociohistorical conditions of the Qajar era. Moreover, in addition to a brief report of the correction of her poetry book, her system of thought and the features, semantic context, and content of her lyrical poems will also be explored. The introduction of this poet to the literary society and the critical analysis of her poems will clarify her position and contribution to the history of women’s poetry
Alireza Nabilou
Volume 66, Issue 227 , January 0, , Pages 113-135
Hamid Reza Farzi; Mohammad Reza Abedi
Volume 67, Issue 230 , January 0, , Pages 113-134
Abstract
Myths as primitive human insight about human and world are usually reflected in culture and literature of the nations in transformational way. Marzban book is one of the texts that myths and legends can be traced in them. In this article, mythical themes of the story of Shahriyar Babel with Shahriyarzadeh ...
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Myths as primitive human insight about human and world are usually reflected in culture and literature of the nations in transformational way. Marzban book is one of the texts that myths and legends can be traced in them. In this article, mythical themes of the story of Shahriyar Babel with Shahriyarzadeh in Marzban book have been investigated. It is assumed that this story depicts rituals and ceremonies of initiation. Therefore, content analysis of the story proved conformity of this story with initiation ceremony so that all elements and steps of initiation including solitude, separation, taking trainees to the hunting ground, hardship (torture), climbing up the tree and etc are seen. Of course, there are symbolic and archetypical elements in the text related to the main content (initiation) and these elements have been analyzed accordingly.
